2026 is shaping up to be a pivotal year for Jeethu Joseph. Not only is he returning with the much-loved Drishyam franchise, but he is also planning to make his first straight Telugu film this year. With Drishyam 3 scheduled for release on April 2, there's already a palpable excitement around what's in store for Georgekutty and family this time. But before all that comes a test dose in the form of Valathu Vashathe Kallan, headlined by Biju Menon and Joju George.
The film is set for release on January 30, and the director, characteristically composed, is waiting to hear the audience’s verdict, but not before letting us in on what is going on in his head.
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Some of your works are considered textbooks in screenwriting, especially thrillers. Yet you continue to collaborate with other writers, like in the case of Valathu Vashathe Kallan.
It’s easier to work on my own scripts because I visualise everything while writing. By the time I finish the script, I’ve already shot and edited the film in my head. With someone else’s writing, there’s a much longer process — constant interaction, understanding the writer’s perspective, balancing it with my own, and then finding the right treatment.
With Valathu Vashathe Kallan, the teaser and trailer might suggest a thriller, but it’s not a typical one filled with twists and suspense. It’s an emotional crime drama, where the focus is more on emotions than thrills. That’s what interested me.
Would you say this is your most emotionally heavy film yet?
Neru was also emotional, but we are dealing with a different kind of emotion here. When we screened the film for a few people, they described it as “emotionally heavy” because of the overwhelming feeling it left them with. That feedback was important because when you’re involved with a film for a long time, you tend to lose judgement.
That said, it’s not a conventional tearjerker filled with drama and sentimentality — something I generally don’t prefer. Along with emotionally intense moments, there’s also a crime and investigation layer that should keep the audience curious.
Do you see yourself more as a writer who directs, or a director who writes?
I'm a writer who directs, and so naturally, my films are mostly script-oriented. I prefer realistic characters and premises, which might be one reason some people take issue with my filmmaking style. There are directors who alter scripts to achieve certain shots or aesthetics, but I never do that.
While acknowledging criticism, do you ever feel the urge to prove it wrong by attempting something radically different?
I don’t think there’s anything to prove. I’ve already explored different styles with films like Detective, Mummy and Me, MyBoss, Memories, and Drishyam. When it comes to criticism, if it feels genuine and constructive, I’ll engage with it; otherwise, I mind my own business.
There are two situations — either you change because you realise you were wrong, or you’re forced to change because your survival is at stake. So far, I don’t feel either applies to me. That said, I’ve lately been discussing these criticisms with my team and family. They made a valid point: Indian cinema today prefers more glamorous visuals.
That pushed me into a more self-critical mode, and I have consciously attempted something different with Valathu Vashathe Kallan. Audience sensibilities evolve, and if you don’t adapt, you’ll be pushed out. At the same time, I know I can’t fully replicate what new-generation filmmakers do because my choices are shaped by what I grew up watching. It’s not easy to break away completely.
Would associating with a new set of technicians help? You often work with the same team...
People often blame my cinematographer Satheesh (Kurup), but that’s unfair. He delivers exactly what I want. 12th Man was visually very different. It had an Agatha Christie-style whodunnit feel, but unfortunately, it wasn’t released in theatres. And that style can’t be repeated for Drishyam 3. For a story set in rural Idukki, I can’t use soft lighting and make it look like a Scandinavian thriller. It might look stylish, but to me it would feel alien. We’ve experimented slightly with that aesthetic in Valathu Vashathe Kallan, which is also shot by Satheesh.
I work similarly with my editors. Most of the details, including intercuts and the order of shots, will be there in the script, and if there are suggestions, we discuss them. In thrillers, structure is crucial; even a slight change in reaction shots can affect the whole mood. Working with the same team also helps because they understand my process, which allows me to focus on other projects during post-production.
How did working with strong performers like Biju Menon and Joju George elevate the film?
I usually decide a scene’s mood, lighting, and even shots beforehand. But once the actors start performing, my focus shifts entirely to them. Biju and Joju are exceptional performers, so my job is to capture them from the best possible angle.
I might have planned a cut from a wide shot to a close-up, but if the performance is working beautifully, I let it play out. I’m flexible that way because I know an unnecessary cut can dilute the performance.
A making video from Valathu Vashathe Kallan sets showed you having a relaxed moment with the team, drink in hand. Is that the overall vibe in your sets?
No, it varies. That day, we were shooting a song sequence with a barbecue and drinks. The artists were actually having black tea, so I joined them during a short break and had a drink for fun. But it's not always like that.
Lena, who has worked with me thrice, recently said each film was a different experience. In films like Nunakkuzhi, with people like Basil (Joseph) around, the atmosphere is more relaxed and jovial. I tend to absorb the energy around me.
Do you ever feel audiences now watch your films trying to 'outsmart' you rather than surrendering to the story?
Yes, especially with thrillers. You can't blame them, because as a viewer, I might also do that if a filmmaker consistently surprises me. I'd then want to get one step ahead and crack what's about to happen next. It's also a burden as a filmmaker because people don’t tolerate logical loopholes in my films (laughs). I realised this while doing Thambi in Tamil. During discussions, I told Karthi not to overthink the logic, but he said, “Sir, it’s a Jeethu Joseph film. Logic has to be precise.”
More recently, with Mirage, many felt there were too many twists. What we actually intended was a ‘mirage effect’, where characters’ true colours change as you get closer to them. The only real twist was Asif’s character, but audiences complained that the rest were predictable. It's not their fault. I should've been more conscious of how they approach my films.
You had announced a film with Fahadh Faasil in 2024...
Discussions are still ongoing. I’m not sure if it will happen this year. My next project is likely a Telugu film with an upcoming actor. Santhi (Mayadevi) is writing it.
Despite being one of the most sought-after filmmakers today, what draws you to working with upcoming actors?
An artist should be open to all kinds of roles, not just playing a nanma maram or an action star. That’s why Asif is able to do a Mirage and Uyare. Newcomers are willing to trust us and surrender to the character completely. Seniors, on the other hand, often carry a lot of insecurity.